The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for amateur choir. Considering that it was consitently held in traditional tonality. In the present version for mixed choir soprano part and alto part may be substituted by boy’s voices. The middle movement of the alternative setting for male choir however requires obligato boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see also versions for organ / brass orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]

The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for amateur choir. Considering that it was consitently held in traditional tonality. In the present version for mixed choir soprano part and alto part may be substituted by boy’s voices. The middle movement of the alternative setting for male choir however requires obligato boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see version for organ / symphony orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]

The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for amateur choir. Considering that it was consitently held in traditional tonality. In the present version for mixed choir soprano part and alto part may be substituted by boy’s voices. The middle movement of the alternative setting for male choir however requires obligato boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see also versions for symphony orchestra / brass orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]

Two Canzoni from Gabrieli's "Quattro Canzoni per sonar a quattro" in an orchestration for double chorus brass ensemble.

Content:
Canzon prima “La Spiritata“ [3' 20"]
Canzon terza [2' 40"]

Three waltzes for Piano by the Hamburgian composer Ferdinand Thieriot, a contemporary and friend of Johannes Brahms.

Waltz 1 Allegro moderato [3' 50"]
Waltz 2 Allegro vivace [3' 20"]
Waltz 3 Allegro vivace [5' 40"]

4 Negro Spirituals arranged for brass:

1. Deep River [2' 45"]
2. Let my People go! [3' 15"]
3. Nobody knows … [1' 45"]
4. Sometimes I feel [4']

The famous "Lied ohne Worte" (song without words) op. 109 by Mendelssohn Bartholdy originally composed for violin and piano is here presented as a brilliant, tongue-in-cheek arrangement for piano quartet by Kaiser-Lindemann.

High- to late-romantic Concertino for English Horn and Orchestra. The movements 2 and 3 are adaptations from the romantic pieces „Gruß an Robert Schumann" for piano and violin op. 9.

The movements:

1. Allegretto amabile [4' 45"]
2. Romanze [3' 30"]
3. Finale [5' 25"]

The second of the 3 Preludes for Piano by George Gershwin was arranged by Wilhelm Kaiser-Lindemann for 12 Celli, a commisorial work for the 12 Cellists of the Berlin Philharmonic Orchestra. Further arrangements of this piece by Kaiser-Lindemann are available for string orchestra and for string quartet.

1. Organ (manual and pedal)
2. Organ (manual) / Piano

Two Versions of the Dance Caprice for Piano by the Hamburgian composer Ferdinand Thieriot, a contemporary and friend of Johannes Brahms.

Variations for Piano by the Hamburgian composer Ferdinand Thieriot, a contemporary and friend of Johannes Brahms.

Thema – Tempo di Andante [39"]
Variation 1 – Più azionato, non troppo [38"]
Variation 2 – Marcato [33"]
Variation 3 – Vivace [33"]
Variation 4 – Tempo di Allegretto [29"]
Variation 5 – Tempo moderato [29"]
Variation 6 – Poco animato [30"]
Variation 7 – Tempo di Tema [45"]
Variation 8 – Allegro non troppo [26"]
Variation 9 – Allegretto [43"]
Variation 10 – [51"]
Variation 11 – Vivace [19"]
Variation 12 – Moderato [33"]
Variation 13 – Andante tranquillo [41"]
Variation 14 – Con molto passione [49"]
Variation 15 – Allegretto [41"]
Schluss – Andante molto tranquillo [1' 23"]

The “Tre pezzi sacri“ (three sacred pieces) were originally composed as a commissioned work for mixed amateur choir. Considering that it was consitently held in traditional tonality. In the present version for male choir soprano part and alto part have to be performed by boy’s voices.

The “Tre pezzi sacri“ are formatwise similar to the “Agnus Dei” for seven-part mixed choir op. 40. Both compositions therefor work well for a combined performance with their mixed choir formation.

Alternative instrumental settings are published for Organ op. 31, for Symphony Orchestra op. 31a and for Symphonic Brass Orchestra op. 31b (see also version for organ / symphony orchestra).

The movement names:

1. Jesu nostra Redemptio [ca. 12']
2. Ave Maria [ca. 8' 20"]
3. Aeterne Rex, altissime! [ca. 10' 40"]